AceShowbiz - Whispers in May is a film that blends documentary and improvised fiction. Directed by Dongnan Chen, this is her second feature following Singing in the Wilderness.

The narrative centers on one of the girls, Qihuo, who has recently experienced her first menstruation. This signals readiness for the traditional "Changing Skirt" ceremony. With her parents away as migrant workers, Qihuo sets out with her two closest friends to purchase a skirt. The film intertwines real-life documentary footage with improvised scenes.

Whispers in May is set to premiere on March 15 at the Copenhagen International Documentary Film Festival (CPH:DOX). The production is a collaboration involving Jia Zhao of Muyi Film, Chen’s own Tail Bite Tail Films, Her Film from Sweden, and Seesaw Pictures in South Korea. The genesis of the film began when Chen met Qihuo during a trip to Liangshan. Chen recalls that at 14, Qihuo was at a pivotal moment where childhood was slipping away and societal expectations were beginning to define her future.

When asked about the casting process, Chen explained that her initial visit to Liangshan was for a short film project. During that trip, she discovered essays written by local schoolchildren. One essay, penned by Qihuo, contained a line that lingered with Chen: "I've made many wishes, but none has ever come true." This line drew Chen to Qihuo, who quickly became a constant presence. Chen learned that Qihuo was living in a state of temporary homelessness, as her parents worked far away and her grandfather, who had raised her, had recently passed. She kept her menstruation a secret due to cultural implications.

The film’s form intentionally blends documentary and fiction. Chen describes it as a "dream running parallel to reality," where the realities of the Liangshan Mountains, parental absence, and the weight of tradition provide the foundation. Onto this, the filmmakers and the girls themselves planted the imaginative and improvised elements of their journey.

The girls were invited to treat the film as a space where they could be the protagonists and co-creators of their story. Chen notes that this approach dissolved the boundaries between scripted and spontaneous moments. She believes that by playing themselves, the girls conveyed a truth beyond mere facts.

Collaboration with the young cast was based on mutual respect and protection. Chen emphasizes that the production functioned as a playground rather than a traditional film set. The girls’ agency was central to the project. Without a set script, the team worked from a shared outline of possibilities, reviewing footage during filming to spark conversations about the direction of the story.

Throughout the journey, the girls revealed a quiet, fierce resistance to the constraints of childhood and societal fate. Moreover, the filmmakers maintained open communication with the girls’ parents and schools to build trust while preserving a private space for the girls to share their stories.

Ultimately, Whispers in May is an exploration of a pivotal moment in young lives. Its blend of documentary and improvised storytelling creates a portrait of growth.

As the film prepares for its world premiere, it promises to offer a cinematic experience.